I shot my first film on Super 8mm while studying Three Dimensional Design at Wimbledon School of Art. The short film won first prize in a BBC tv competition judged by award winning DP Chris Menges BSC – years later, I worked with Chris as his operator on ‘Hummingbird’ (aka ‘Redemption’)
I joined the film & TV industry as a commercials runner at Ridley Scott Associates. Having gained experience as a camera assistant on documentaries and TV drama, I progressed to operating and lighting. Acquiring skills such as steadicam, helped to build my reputation and propel my journey into feature films – reuniting with Ridley Scott as camera operator and splinter unit DP.
Over the last 30 years, I have had the privilege of working with so many talented directors; cinematographers; technicians and artists. For me, collaboration is incredibly inspiring and rewarding – the key to producing quality work. Creating imagery to communicate a story is the driving force that continues to motivate me. A process that has so many exciting challenges, with so much more to explore….
I have been a Board Member of the Guild of British Camera Technicians (GBCT) for 11 years and am currently Vice President of the Association of Camera Operators (ACO). Our common aims are to promote and celebrate the technical & creative skills of these crafts, and to help inspire and train the next generation of film & television industry technicians.
‘The King’s Man’
THE OPERATORS AWARD: 2021 – NOMINATION FOR OUTSTANDING CAMERA OPERATING ON A FEATURE FILM
‘The King’s Man’ was my third film as Camera Operator with Director/ Producer: Matthew Vaughn and my 15th collaboration with Cinematographer: Ben Davis BSC. This film is a prequel to the highly acclaimed ‘Kingsman’ spy/comedy action movies, exploring the origins of the world’s first independent secret intelligence service, set against the backdrop of World War I. Matthew loves to move the camera, choreographing complex developing shots combining crane, dolley and steadicam. He has an extraordinarily keen attention to detail, so every frame and the precision of every move had to be flawless. The process was demanding but exhilarating, only possible with the support of a versatile, talented cast and crew. I am flattered to have been nominated for this Award with B’ Camera Operator Sam Renton and honoured to be in the company of such esteemed nominees.
THE OPERATORS AWARD: 2018 – NOMINATION FOR OUTSTANDING CAMERA OPERATOR WORK ON A FEATURE FILM –
It was a huge pleasure to step aboard this ‘Paddington’ sequel, under the superb navigation of the talented writer/director Paul King and the creative vision of DP Erik Wilson. I found it surprisingly challenging to frame this film – where the principle character was not only a small bear interacting with human co-stars, but he was never actually visible through the eyepiece! Complex sequences and a dynamic roving lens galvanised to help produce this heart-warming family comedy. Thank you to an amazing cast & crew for their great collaboration – This nomination is in recognition of all their hard work.